Joseph Kosuth and ethics as a mediator between meaning and emptiness.
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802023000100075 |
Resumo: | Abstract Joseph Kosuth’s “One and Three Chairs” is considered the materialization of his 1969 essay “Art after Philosophy”, where he defined Conceptual Art, in which Meaning relied solely upon its author’s mind, expressed through tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one’s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer’s lack of understanding, he can propose something that, also for him, is devoid of meaning. This is why Kosuth’s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work, there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which “One and Three Chairs”, and his subsequent work, repeatedly dwells, defending the expression of honesty that should guide Conceptual Art, in its own defence, but also of its authors’ and appreciators’ defence. |
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Joseph Kosuth and ethics as a mediator between meaning and emptiness.Joseph KosuthConceptual ArtSignMeaningSignifierAbstract Joseph Kosuth’s “One and Three Chairs” is considered the materialization of his 1969 essay “Art after Philosophy”, where he defined Conceptual Art, in which Meaning relied solely upon its author’s mind, expressed through tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one’s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer’s lack of understanding, he can propose something that, also for him, is devoid of meaning. This is why Kosuth’s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work, there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which “One and Three Chairs”, and his subsequent work, repeatedly dwells, defending the expression of honesty that should guide Conceptual Art, in its own defence, but also of its authors’ and appreciators’ defence.Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco2023-05-01info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articletext/htmlhttp://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802023000100075Convergências - Revista de Investigação e Ensino das Artes v.16 n.31 2023reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttp://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802023000100075Jorge,Pedro Fonsecainfo:eu-repo/semantics/openAccess2024-02-06T17:32:01Zoai:scielo:S2184-01802023000100075Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T02:34:56.278422Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
title |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
spellingShingle |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. Jorge,Pedro Fonseca Joseph Kosuth Conceptual Art Sign Meaning Signifier |
title_short |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
title_full |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
title_fullStr |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
title_full_unstemmed |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
title_sort |
Joseph Kosuth and ethics as a mediator between meaning and emptiness. |
author |
Jorge,Pedro Fonseca |
author_facet |
Jorge,Pedro Fonseca |
author_role |
author |
dc.contributor.author.fl_str_mv |
Jorge,Pedro Fonseca |
dc.subject.por.fl_str_mv |
Joseph Kosuth Conceptual Art Sign Meaning Signifier |
topic |
Joseph Kosuth Conceptual Art Sign Meaning Signifier |
description |
Abstract Joseph Kosuth’s “One and Three Chairs” is considered the materialization of his 1969 essay “Art after Philosophy”, where he defined Conceptual Art, in which Meaning relied solely upon its author’s mind, expressed through tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one’s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer’s lack of understanding, he can propose something that, also for him, is devoid of meaning. This is why Kosuth’s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work, there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which “One and Three Chairs”, and his subsequent work, repeatedly dwells, defending the expression of honesty that should guide Conceptual Art, in its own defence, but also of its authors’ and appreciators’ defence. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-05-01 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802023000100075 |
url |
http://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802023000100075 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
http://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802023000100075 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
text/html |
dc.publisher.none.fl_str_mv |
Escola Superior de Artes Aplicadas Instituto Politécnico Castelo Branco |
publisher.none.fl_str_mv |
Escola Superior de Artes Aplicadas Instituto Politécnico Castelo Branco |
dc.source.none.fl_str_mv |
Convergências - Revista de Investigação e Ensino das Artes v.16 n.31 2023 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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